Half-as-Big and the Tiger is a delightful children's book written by Bernice Frankel and illustrated by Leonard Weisgard.
First published in 1950, this timeless classic has continued to captivate generations with its charming storyline and beautiful illustrations.
Whether you are an aspiring illustrator or an experienced designer, Half-as-Big and the Tiger is sure to inspire you with it's gorgeous use of texture and imaginative storytelling.
Let's dig in!
Illustrator Leonard Weisgard, whose work often included bright multicolored imagery, made the unique decision to limit his illustrations in this book to just two neutral colors. A warm, mustard colored yellow and a slightly cooler red-brown.
The choice to use a minimal color palette was a deliberate one. By using just two colors, Weisgard was able to bring a certain simplicity and elegance to his illustrations, while also making them more impactful and memorable.
Choosing a two-color palette in your illustration requires careful consideration of color theory and the overall mood and theme of the work.
Start by choosing one main color that reflects the mood or theme of the piece (in this book, a warm mustard yellow that evokes tigers and the hot sun). Then, select a secondary color that complements the main color and provides contrast, like the deep ochre. Notice in Half-as-Big and the Tiger the secondary color also works well for the deer and trees.
Understanding how an illustration created 50+ years ago was made is always a mix of research, deduction, and guesswork. The illustrations in this book appear to be made using a mix of stencils, sponges, and oil pastel.
Stenciling involves cutting or punching out a design on a sheet of paper or other material, which is then placed over the surface to be decorated, such as paper or fabric. The artist can then apply ink or paint over the stencil, creating a pattern or design on the underlying surface. This technique can be used to create intricate and repeating patterns quickly and efficiently.
Sponging, on the other hand, involves applying paint or ink to a sponge, which is then pressed onto the surface to be decorated. This creates a textured effect, with variations in the thickness and opacity of the paint depending on the amount of pressure applied. Sponging can be used to create a range of effects, from subtle shading to bold and dramatic textures.
Oil pastel, with its rich and vibrant colors, adds depth and dimension to the illustrations, creating a sense of movement and energy that brings the story to life.
Overall, the combination of stenciling, sponging, and oil pastel in Half-as-Big and the Tiger creates a unique and captivating visual style that has stood the test of time. Understanding these techniques can help modern-day illustrators and designers to appreciate the skill and creativity that went into c
This book was originally published by Weekly Reader Children's Book Club. The publisher had to find a way to strike a balance between making quality media and turning a profit.
For artists, this meant making choices that would make their output quicker:
Limitations like the ones above often help artists to focus their work and find creative ways to work within the confines of the project brief.
It can be frustrating to find the right font to go with retro-inspired children's book work. But remember, typefaces were much more limited in the early and mid 20th century. This resulted in many books using just a handful of fonts.
Best of all, most of these fonts are free and you probably already have them on your computer!
For example, like many books of the period, Half-as-Big and the Tiger appears to use Time Roman (if this looks like another typeface to you, please let me know in the comments).
Other common typefaces used in mid-century children's books include:
Because Weisgard only uses two colors, the problem arises in how to identify different forms within the illustration. This is were the use of negative space comes in! Negative space refers to the space between forms. On the right side of the page, this would be the background around half as big. On the left side of page, it is the background, but also:
The key to incorporating more negative space into your illustration work is to intentionally experiment in your illustrations.
Experiment with the placement and size of subject matter within the composition. By leaving more empty space around the subject, the negative space is allowed to become more prominent, creating a sense of balance and contrast in the image.
Another approach is to use larger areas of negative space to create a sense of calm or minimalism within the image. This can be achieved by simplifying the composition and using negative space to create balance and contrast with the subject matter.
Finally, consider experimenting with the size and shape of your subject matter. By making it smaller or more abstract, you can create more negative space around it and highlight the shapes and forms created by the negative space itself.
Whether you are an aspiring illustrator or an experienced designer, Half-as-Big and the Tiger is sure to inspire you to create your own unique works of art. By studying the techniques used by Weisgard and other illustrators, and experimenting with your own style and approach, you can create illustrations that are not only beautiful but also impactful and memorable.
Here are some ideas to keep in mind when experimenting in your own work:
So, go ahead and pick up your pencil, paintbrush, or digital tool of choice, and start creating! Whether you are drawing inspiration from the pages of Half-as-Big and the Tiger or forging your own path, remember to stay true to your vision and embrace the creative process.
Who knows, you may just create the next timeless classic that inspires generations of illustrators and designers to come.
